REVIEWS
/ Vienna
Anyone who grew up in the 1970s and watched the Children’s Television Network/PBS educational series Sesame Street was subliminally prepared for the gamut of conceptualism in (contemporary) art. No character prepared one better than the “Mad Painter,” who popped up in the unlikeliest of places in his Chaplinesque bowler hat...
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I thought it might be my imagination, but it seemed that every winter I happened to be in Vienna, Galerie Hubert Winter—a mod two-level space directly behind the MuseumsQuartier—was showing another exhibition by the late Austrian artist Birgit Jürgenssen, who was born in 1949. The name was the same,...
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Four women stand in a light-flooded room, barefoot and dressed in simple black. The youngest is in her early thirties, the oldest in her early seventies. A metronome is turned on to an eager 120 beats per minute. One of the dancers counts in Hebrew softly, “Achat, shtaim, shalosh, arba,”...
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Everything feels hyper-politicized right now. This is true in the real world, of course … and, increasingly, in the art world. Lately, at least in Central Europe, fake (or “fake”?) Occupy camps are cropping up at nearly every major contemporary art event. The recent Berlin Biennale’s camp-as-university is probably the...
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An artist’s best consigliere is often another artist, a partner in crime who follows the adventurous path of an undefined yet malleable future. Chance encounters often lead to influential long-lasting relationships. Youthful firebrands grow canny to become wizard practitioners of subversive unorthodoxies. Such is the case in ”looking at my own work (and...
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Looking at Nader Ahriman’s paintings is somewhat analogous to reading Wittgenstein’s Tractatus or Pound’s Cantos; you need a guidebook to navigate the arcane references and codes. Nonetheless, his artistic gravitas grabs you immediately, pulling you into his very own dialectic apparatus. Mythological man-machine hybrids abound in theatrical mise en scènes...
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